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On visual arts from 1880-1920
Edited by John Elderfield, Peter Reed, Mary Chan and Maria del Carmen Gonzalez. Essays by Starr Figura, Beatrice Kernan, Judith B. Hecker, Elizabeth Levine and M. Darsie Alexander, Magdalena Dabrowski, Wendy Weitman, Peter Reed, Susan Kismaric, Sarah Ganz, Mary Lea Bandy and Deborah Wilk. Foreword by Glenn D. Lowry.
Together they present a broad range of styles and media, from oil, acrylic, and mixed-media paintings and drawings to photography, sculpture, installation art, and video and digital imagery.".
Modernism generally signifies the efforts of late 19th century European painters, writers, musicians and philosophers who consciously broke with tradition. This is an examination of what that meant for those aristocrats who were also modernists.
A Companion to Modern Art presents a series of original essays by international and interdisciplinary authors who offer a comprehensive overview of the origins and evolution of artistic works, movements, approaches, influences, and legacies of Modern Art. Presents a contemporary debate and dialogue rather than a seamless consensus on Modern Art Aims for reader accessibility by highlighting a plurality of approaches and voices in the field Presents Modern Art’s foundational philosophic ideas and practices, as well as the complexities of key artists such as Cezanne and Picasso, and those who straddled the modern and contemporary Looks at the historical reception of Modern Art, in addition to the latest insights of art historians, curators, and critics to artists, educators, and more
The material for this book has been taken from the 2006 thesis, Frederick Kiesler’s Art of This Century in New York, (1942-1947), in the Context of the Twentieth Century Art Museum. The prime objective was to establish why so few people remember Art of This Century, which Kiesler designed for Peggy Guggenheim in 1942, and she ruthlessly closed in 1947. A second aim was to investigate why there has been so research carried out on the Gallery, when it was acknowledged as a work of art in its own right at the time of opening. Indeed, in 2004 Thomas Krens, the Guggenheim Foundation’s director expressed concern that due to the lack of research it might slip into oblivion. Such a statement raises questions as to why it has taken the Guggenheim Foundation over half a century to resurrect Art of This Century, in the form of two exhibitions held in Frankfurt and Venice, or instigate its own research. The book opens with an historical account of the development of the modern art museum, as well as an overview of Kiesler’s life and multidisciplinary oeuvre. His association with selected, contemporary architectural theorists, and architects is looked at to establish whether they had any influence on his eclectic thinking. This is followed by a summary of Kiesler’s manifesto, On Correalism and Biotechnique: A Definition of a New Approach to Building Design, 1937-1939. The main body of the work is a detailed description of Art of This Century. The notion that Kiesler’s innovative theories and designs might be better understood in a twenty-first century architectural context is finally explored. "This book finally restores Frederick Kiesler to his rightful place in the history of twentieth century art and architecture. By a careful analysis of his sometimes fraught collaboration with the mercurial Peggy Guggenheim, Haines-Cooke uncovers the fascinating story of Kiesler’s ground-breaking new vision for the display of abstract art – rendered all the more poignant by its significant yet largely subliminal influence on much of the best in recent museum and gallery architecture." —Dr Jonathan Hale, University of Nottingham
Catalog of an exhibition held at the Museum of Modern Art, June 26-Sept. 12, 2005, the Los Angeles County Museum of Art, Oct. 20, 2005-Jan. 16, 2006, and the Musée d'Orsay, Paris, Feb. 27-May 28, 2006.
This stunning examination of the last years of Édouard Manet's life and career is the first book to explore the transformation of his style and subject matter in the 1870s and early 1880s. The name Manet often evokes the provocative, heroically scaled pictures he painted in the 1860s for the Salon, but in the late 1870s and early 1880s the artist produced quite a different body of work: stylish portraits of actresses and demimondaines, luscious still lifes, delicate pastels, intimate watercolors, and impressionistic scenes of suburban gardens and Parisian cafés. Often dismissed as too pretty and superficial by critics, these later works reflect Manet’s elegant social world, propose a radical new alignment of modern art with fashionable femininity, and record the artist’s unapologetic embrace of beauty and visual pleasure in the face of death. Featuring nearly three hundred illustrations and nine fascinating essays by established and emerging Manet specialists, a technical analysis of the late Salon painting Jeanne (Spring), a selection of the artist’s correspondence, a chronology, and more, Manet and Modern Beauty brings a diverse range of approaches to bear on a little-studied area of this major artist’s oeuvre.
This book is a study of three of writer F. Scott Fitzgerald's literary and artistic mentors who helped to intellectually and philosophically influence his life and writings.